Oğuzhan Koç - Yanımda Olsan - Chord

Key G major – E minor Chords C, D, Am, Bm, Em Difficulty already in its easiest key

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Capo 0

C              C
Yandı bin kere ah bir görsene
D                    C
İsterim yine ölürdüm göz göre
C                  C
Ben ki bekledim belki kaç sene
D              C
İstemez miyim dönmeni yine
C          D          Am   Bm
Bir sabah uyandığımda yanımda olsan

Bm               Am
Bir kitap daha koydum üst rafa
Bm         Am
Okudum okudum anlamadım
Bm           Am
Ne bitap ne de sarhoşum ama
Bm             Am
Hakikat rahat vermiyor

Em                     C                     D
Bir gün daha devrildi ama hiç bir anlamı yok inan
D                  C
Her yolu denedim  zaman akıyor
Em                     C                  D
Hiçbir şey farketmedi ama ne duyarsan duy yalan
D             C        Em
Ne koyduysan geriye tamam
C          D           Am      Bm
Bir sabah uyandığımda yanımda olsan
                     
        C                           Am               D                 Bm      
Ben burada kimsesizliğime yanarken acıyıp utandırma sakın iyilik olsun diye
           C                        Am                D                    Bm
Sen durma git şu halime bakarken arayıp sorman bence yakın elimden bir tut diye
C          D         Am      Bm
Bir sabah uyandığımda yanımda olsan

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Oğuzhan Koç - Yanımda Olsan Tabs

NotesX

Harmony analysis

Oğuzhan Koç – Yanımda Olsan: key and chord analysis

The song opens on C and ends on Bm. Its chords belong to both G major and Em, so every chord below is read both ways.

Major view

G major

Brightness rank 2/7 (bright)

Characteristic notes

7 = F# (leading tone, pulls home)
4 = C (the note that leans on the 3rd)

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because Em is heard 3 times while G never appears. That is an interpretation, not a rule — the same chords are just as valid seen from G major, and switching between the two views is exactly where the practice value lies.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to G or to Em; comparing both readings is a practice of its own.

Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii	Am	Supertonic — prepares the dominant	A · C · E	9×
iii	Bm	Mediant — a tonic-family shade	B · D · F#	9×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IV	C	Subdominant — moves away from home	C · E · G	15×
V	D	Dominant — strongest pull home	D · F# · A	11×
vi	Em	Relative minor — the melancholy side	E · G · B	3×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i	Em	Tonic — home	E · G · B	3×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv	Am	Subdominant — moves away from home	A · C · E	9×
v	Bm	Minor dominant — soft pull	B · D · F#	9×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VI	C	Submediant — warm colour	C · E · G	15×
VII	D	Subtonic — steps back to the tonic	D · F# · A	11×

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 47 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

C D GIV → VIV → V EmVI → VIIVI → VII ×7
C Em GIV → vi EmVI → iVI → i ×2
Am D Gii → Vii → V Emiv → VII ×2
Am Em Gii → vi Emiv → iminor plagal ×1

The move to watch is C → D, heard 7 times. From the Em side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the G side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.

The song on the circle of fifths

Played in the song — chord of the key
Played — the minor's harmonic V or a secondary dominant
Played — borrowed or outside chord
Home region: IV–I–V and ii–vi–iii

Empty slices are chords the song doesn't use.

Capo and easier keys

With G major shapes

No capo — open G shapes
Capo 3 + E shapes
Capo 5 + D shapes

With E minor shapes

No capo — open Em shapes
Capo 2 + Dm shapes
Capo 7 + Am shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

The first chord is C; the ear learns where home is within a second. C, D, Am, Bm carry the song: IV–V–ii–iii relative to G, VI–VII–iv–v relative to Em. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → D (IV → V in G, VI → VII in Em): VI → VII — the rising step that heads for the tonic. The final chord is Bm; the ear comes to rest in G.

This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.